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Transcript of World of Antiques & Art 79
AUGUST 2010 - FEBRUARY 2011 ISSUE 79AUSTRALIA $16.95 NZ $20.95SINGAPORE $20.00 UK £7.00
US $13.00 €10.50
a biannual magazine for col lectors of mater ia l cul ture
Ancient crafts: new discoveries /fresh applications
A recently uncovered ancientRoman mosaic floor on show
in New York
Tiffany’s mosaic glass screen a national heritage in Mexico
From decorating jars to jewellery designs: Enamelling is taken to
new heights in the UK
Fostering the arts:New titles reviewed
Celebrating Australian art Vida Lahey, one of Queensland’s
best-loved artists
State of the market:From Australia to London collecting trends are strong
Review of a major Sydney auction
New look for London fairs
142 AROUND THE AUCTIONS
Auction highlights from the major houses
ART
64 Acquisition: Noel Counihan (1913-1968)
Alexandra Walton
68 Marc Rambeau: The confluence of eastern and western art practices
in landscapes
Helen Musa
104 Frederick Cayley Robinson (1862-1927):
Paintings for Middlesex Hospital
Sarah Herring
116 Vida Lahey (1882-1968): Exceptional flower studies
Glenn R Cooke
124 Salvatore Rosa (1615-1673): His bandits, wilderness and magic on
show in London
Xavier F Salomon
ART NEWS
52 London fairs in June
Tony Keniston
78 Brian Kennedy moves to the Toledo Museum of Art
Helen Musa
92 Bonhams sale of the Owston Collection
Peter Fish
159 CONTRIBUTORS
DECORATIVE ART AND DESIGN
22 Commemorating the invention of European hard paste porcelain
Theresa Witting
28 Collecting Japanese Satsuma ware
Christopher Proudlove
36 Acquisition: Germanic book case circa 1890s
Glenn R Cooke
46 The Roman mosaic from Lod, Israel
Christopher S Lightfoot
56 Acquisition: Teraike Toshu (1907-1980)
Daniel McOwan
58 Cultural arts and the Solomon Islands
Crispin Howarth
80 A meaningful survey of German goldsmithing masterpieces
Ulrich Becker
100 The consummate craftsmanship of Fred Rich
Amanda Stucklin
108 The Ballet Russes and a revolution in theatre design
Jane Pritchard
112 Tiffany’s monumental mosaic fire screen
Margaret D McNiven
134 Exploring the rich tapestry of Tibetan furniture
Stephen Markel
138 The long tradition and fame of Chinese ceramics
Laurie Barnes
4 EDITORIAL
HERITAGE
74 The Anthony Shaw Collection
John Christian
86 Horace Walpole’s Gothic castle on the Thames
Judith Viscardi
LIBRIS
128 Colin Holden, The Outsider: Portrait of Ursula Hoff
Reviewed by Alison Inglis
129 Dorothy Erickson, Gold & Silversmithing in Western Australia
Reviewed by Glenn R Cooke
131 Martin Kemp and Pascal Cotte, Leonardo da Vinci: ‘La Bella
Principessa’, The Profile Portrait of a Milanese Woman
Reviewed by Hugh Hudson
PHOTOGRAPHY
10 Anton Bruehl and the Fabric Group
Belinda Hungerford
23 Valerie Spark: El Dorado Springs
Gael Newton
W O R L D O F A N T I Q U E S & A R T
2
Contents
COVERValerie Sparks (Australian 1961-), El Dorado Springs,2007, mural size digital montage inkjet photograph,pigment inks on archival paper, 100 x 600 cm, ed 4/5.National Gallery of Australia Canberra
BELINDA HUNGERFORD
In the 1920s there was no place more
modern and glamorous than New York
and towards the end of the decade
there were three debonair young men
who were causing a sensation. Each
week in The New Yorker their exploits
were splashed across the page and the
public eagerly awaited the next exposé.
But there is a twist in this tale. The
dapper trio were cut-out dolls, joined at
the trouser cuffs and elbows, and were
advertising Fabric Group suits from
Manhattan men’s haberdashers Weber
and Heilbroner.
Australian-born American
photographer Anton Bruehl (1900–1982)
was responsible for the award-winning
long-running series that captivated The
New Yorker readership.
The growing acceptance of
photography in advertising from the
1920s onwards led to enormous
creativity in the medium with ‘new
camera art techniques’1 employed to
individualise campaigns. Advertisers
were willing to use photographic
W O R L D O F A N T I Q U E S & A R T
10
photography
Cut from a new cloth: Anton Bruehl and the Fabric Group
Dramatic lighting and bird’s-
eye perspective were used
to striking effect in the
advertising campaign Anton
Bruehl created for the
American Fabric Group
label. Elements that were
extremely modern and
tapped into the new
imagination emerging in
commercial photography
1
W O R L D O F A N T I Q U E S & A R T
28
CHRISTOPHER PROUDLOVE
As someone who used to think
antiques were only ever seen in
fusty museums, it should come as no
surprise that as far as I was concerned,
Satsumas were the brand of fresh
oranges you bought at the greengrocers.
Then I became hooked on salerooms,
flea markets, car boot sales and
acquiring more junk than the house
could comfortably accommodate.
It didn’t take long before I learned
about the other type of Satsuma: the
Japanese earthenware pottery, so called
because that’s where it was made.
However, not all Satsuma is of fine
quality. Gaudy gilt elephants, dragons,
Buddhas and strongmen—crudely
modelled and carelessly painted—are not
to everyone’s liking. Huge quantities of it
were (and still are) produced for export to
the west, resulting in standards that leave
much to be desired.
But forsake the later mass-produced
bottom of the market items and instead,
sift out pieces by masters such as Chin
Jukan, Hayata Takemoto and their
followers, whose work is pure joy to
behold. Consider the objects illustrated
here. Each a superb example of the
quality, imagination and technical
decorative arts & design
1 Japan (Meiji period 1868-1912), Satsumavases made by Nakamura Baikei, late 19thcentury, each with elephant-head handles,decorated in typical colours and gilt. Aninscription by the potter reads: ‘I made thisvase with all my soul and technique; youshould admire it as fine art.’ Value: £6,000-8,000
Images courtesy Sotheby’s London
Collecting
Japanese Satsuma ware
1
Satsuma ware originated
in southern Japan in the
late sixteenth century. It
varies widely in quality,
from mass-produced
items of little value, to
fine items by master
potters which are highly
collectable. There are still
plenty of pieces available
on the market. Identifying
the best pieces requires
a good eye and an
intimate knowledge of
the subject
W O R L D O F A N T I Q U E S & A R T
36
This red painted bookcase is the
most significant example of
furniture made in the late nineteenth
century for Queensland’s migrant German
community that has been discovered. It
has the distinctive red-oxide casein paint
finish found on similar furniture originating
from German settlements in South
Australia’s Barossa Valley.
A cedar wardrobe in the collection of the
Art Gallery of South Australia, attributed to
the Schaedel workshop in the Barossa
Valley, similarly exhibits the shaped recess
panels to the doors. This appears to be a
distinctive German style and suggests a
common regional inspiration for both
pieces from the Brandenberg, Posen, or
Selisia areas. British researchers have been
in the forefront of identifying their distinctive
regional styles but there does not seem to
be equivalent research in Germany as yet.
German-inspired furniture from
Queensland is rare and this bookcase,
sourced to the Lockyer Valley, is the
largest in scale and the most striking
identified to date. The commonest form
of case furniture in the nineteenth
century is the wardrobe or schrank and
two wardrobes with similar features—
most likely by the same hand—have
been noted. One, a black stained
wardrobe also in the possession of the
donors, has curved frames to the door
similar to the bookcase and similar
pyramidal bosses. Another wardrobe,
which was identical in all details even to
the finials, had its significance destroyed
when it was stripped and the door
panels replaced with glass to make a
display cabinet.
The settlement by German migrants in
South Australia’s Barossa Valley is well
known and the focus of the 1995
publication by Noris Ioannou, The
Barossa folk: Germanic furniture and
craft traditions in Australia. These migrant
communities maintained their cultural
coherence through their work in the wine
industry. As Ioannou observes: ‘… the
physical isolation and cultural continuity of
the Barossa Valley, the manner of its
founding, as well as the place of origin of
its German communities, were key factors
in underpinning the preservation of
homeland furniture practices
and styles.’1
The key period in South Australia
began with settlement in the 1840s and
extended through to World War I. What
is less well known is that, during the
nineteenth century, Queensland was the
preferred destination for German
migrants. Between 1860 and 1880,
some 17,000 settled here so that by
1881 Queensland had the largest group
of German-born migrants in the
Australian colonies.2 These migrants, largely
acquisition
QUEENSLAND ART GALLERY
Unknown Queensland
cabinetmaker Germanic bookcase, c. 1890s
1 Unknown Queensland cabinetmaker,Germanic bookcase c. 1890s, varioustimbers with turning and red-oxide caseinpaint finish, 220 x 127 x 50 cm. Origin:Lowood area, Brisbane Valley. Gift ofCharmian and Patrick Peppin through theQueensland Art Gallery Foundation 2010.Donated through the AustralianGovernment’s Cultural Gifts Program
W O R L D O F A N T I Q U E S & A R T
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globe are written by expert curators,
scholars and journalists.
This Australian-based bi-annual
journal challenges the traditional
approach to collecting, from covering
ephemera and the decorative arts to
fine art. Explore the myriad of
collecting options including textiles,
photography, philately, numismatics,
jewellery, porcelain, silver or furniture
– to name some key areas.
World of Antiques & Art has it
covered, from heritage to culture
to investment.
what is showing internationally?Understanding the thrust of a show, what works arebeing hung, recent discoveries, interesting insights
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